After Effects Tutorial: Logo Animations Ep.3

[Music] this video is sponsored by envato elements envato provides over 1 million digital assets such as graphic elements stock footage fonts music and much more so if you're interested i have provided a link down below in the description which will take you to their website and of course if you do decide to register i get to earn a commission hello everyone and welcome back to episode 3 of logo animations so let's take a look at what we're going to be creating [Music] before we get started i do want to mention that this tutorial is a part of a series and in case you haven't already watched the previous two episodes then i definitely recommend that you check them out also if you have any logo animation suggestions for next episode then leave a comment down below with all that said let's jump right in and get started okay so here we are now in after effects and i've already gone ahead and imported all of the materials that we're going to use so let's create a new composition by going up to composition new composition or you could use control plus n as a shortcut and i highly advise everyone to always learn as many shortcuts as possible because it does speed up the workflow quite a bit now the first logo animation that we're going to be tackling is going to be the playstation logo so let's just rename this comp to ps tutorial we'll leave it at 1080p as for the frame rate let's set it to 60 and you might have noticed that this tutorial is also recorded at 60 fps just so you can tell the difference and the reason i'm choosing 60 fps as opposed to like say 30 fps is because we're going to be going for more fast paced animations so having that extra 30 fps is going to help it seem a lot more smoother and then we'll leave the duration at 10 seconds and just hit ok now we'll go over to the materials folder that i have here and under playstation we'll just click and drag the playstation logo and drop it onto the comp and if you just click and drag anything like so it'll just perfectly align it in the center now let's go over to layer new solid and we'll create a new background which is white rename this background and hit ok we'll bring it below the playstation logo and now we have a fully white background now we'll use this playstation logo as a reference to recreate the shapes ourselves so that later when we get to the animation part we'll have full control over the animation now when it comes to the playstation logo design it has this sort of 45 degree angle to it so what we're gonna have to do is just recreate the shapes in a flat way and then we'll use a camera to orient it so that it fits the perspective of the actual logo so let's go ahead and get started with the s-shape at the bottom here and what we'll do is just make sure nothing is selected in the comp and we'll grab the pen tool and we'll just click and then hold down shift make another point here and then hold down shift so that it snaps horizontally or vertically and then just keep making these points until you have this sort of s shape from a top down view now let's go down to the contents of this shape and we'll just delete the fill so we're left with only the stroke and then we can eye drop maybe this color just so we can see it and then we'll increase the stroke width and now before we do any more adjustments let's just turn this into a 3d layer and also select it and just hit return to rename it to s and then click away now let's select it hit ctrl alt home which will center the anchor point to the layer itself and then we'll hit ctrl home which will center the layer to the composition next up let's click w to bring up the rotation tool and then we can select the x axis and just click and drag and then hold down shift to snap it to 45 degrees next up we don't really want to rotate this until it actually fits with the angle of the s instead we're gonna use a camera to align it so let's go over to layer new camera and make sure it's a two node camera leave the settings at default and hit okay then we'll hit c to bring up the camera tool and if you left click you can orbit around the scene right click to dolly in and out and then middle click to move around the scene so let's ctrl z to undo and we'll use these three shortcuts to just set up the perspective properly so we'll just click and drag with the left mouse button to orbit around and then we'll click on the middle mouse button let's just zoom in here and what we're looking for is to use this edge here at the bottom as a reference so that we can align the perspective so if we just zoom in here click h by the way and just pan around while using the hand tool or you could even just click middle mouse button while not being on the camera tool because if you're in the camera tool remember you move the camera itself but you can go back to say v to the selection tool and then middle mouse click to pan around and so let's go back to the camera once again and let's just see if we can align this properly so um something like that and i'm also looking to keep this line sort of in the middle of the s shape again we can go back and make any adjustments later now the reason i started with the s letter as opposed to with the p letter is because it is a more complex shape so aligning the s shape first is going to be easier for us because then we're going to be able to align the p letter much easier next up you can see down here it says one view let's just switch that to two views horizontal and we'll leave the left one to active camera as for the right one we'll set it to top view and this is where we're going to be doing our adjustments so in the top view and then keep an eye out on the active camera as we update it so let's select the s shape hit g to bring up the pen tool and now if we select these points you can see they just automatically update in the active camera view so what we're going to do is just start editing these points and just pushing them around until we get the shape that we want we'll just bring these two points like so what i'm looking for is just to keep this whole line in the center here because again we're going to go back and readjust the stroke width and also add an effector to it so let's just bring these points up i think that's fine for now let's go down to the s before we adjust the stroke width let's add an effector called round corners so you can see what that does that immediately just rounds the corners and then under the round corners tab here we can increase that to get an even more curved shape we could maybe select this s-shape and the playstation logo hit t to bring up the opacity and set them both to 50 just so we can see where everything is at and that'll make it easier to align stuff so let's go back to the shape we can maybe increase this a little bit we'll select these ones at the bottom push them down and then this one just push it up a bit until we get it to be behind the p letter also remember one thing whatever adjustments you do to the points make sure you do them in the top view because if you make adjustments in the active camera view and say you're holding down shift and using the arrow keys you can see even though i'm pushing up it's not really going up in the top view just because it's using the perspective that we're already in right now which is in the active camera so let's control z to undo everything okay so i think the s shape is good enough for now so let's move on to the p ladder now one way we could do this is say select the rectangle tool and then click and drag and of course we can't make any adjustments to these points and that's because if we go down to the rectangle you can see it is a rectangle path and what we would need to do is to right click on it convert to bezier path and then you just click g to bring up the pen tool and you can just move around the points now one problem i found with doing it this way is because we're gonna use guides in this case so let's just bring up the ruler so we'll go to view show rulers and then we'll make like a couple of rulers here and we'll also make this into a 3d layer and go ahead and switch to the front view so we can see the shape you can see here if we select one of these points and make sure snap to guides is checked it sort of snaps in weird ways so you can see it's not really snapping at these instead of snapping down here and up there and whatever so i don't really know what the problem is with that but i found that when i just create a shape with the pen tool it just snaps right to it so we'll just use this shape instead and then try to make some lines and uh have everything fit in within the p letter so we'll just drag a line here by the way you can click and drag here to make vertical lines or you can click at the top and this will allow you to make horizontal lines so we'll do one here at the top we'll grab this one and bring it down at the bottom and now since we have crossing lines here they can just easily snap to these points but of course you do need to make sure that the snap to guides is enabled now let's quickly turn this into a 3d layer and you can see it automatically lines up with the perspective and that's because we already set up the camera to match the s shapes perspective and so in this case the p letters is going to follow along and get right into place but let's just make adjustments to the points here so we'll hit g select a point hit v to bring up the selection tool and we'll select both of those points and then hold down shift and use the arrow keys just to move stuff around you can see here i'm using the front view to make adjustments and also using the active camera view just to see where everything is lining up so we'll bring this guide here to wherever the points are right now and we'll just snap to those and then we'll select these other two points and just bring them over right about there and uh let's just make sure the guides are in the same place as well now we'll select these ones at the top move them up and bring the guide over there you'll see why i'm doing this i just want to keep everything straight up in line as well as the one at the bottom we'll just make sure it just goes up just a bit now we got the left side of the pea letter filled in but of course there's this extra shape here that we're gonna have to fill in so what we're gonna do is just add a few points and then just adjust them and move them around until it lines up perfectly but before we do any of that let's just go down to the contents and i want to get rid of this stroke effect and also hit t to bring up the opacity and bring it down to 50 hit g bring up the pen tool add a point to about there and you can see it's almost lining up so let's just bring it down a bit i'm keeping an eye on both views at the same time now i'll bring another line here make sure this point snaps to it and then we'll add another point here bring it over to this point and then we'll add a guide there make sure this snaps and then add another point and this one we're going to make sure it's sitting right at the middle of this base here so around there we'll add another a line there vertically and then finally we'll add another point right here and just snap it to this line and just go down until we hit this corner and we'll bring another line right there now of course it has spiky corners so we're gonna have to switch them to curved points instead so we'll do that by going up to the pen tool click and hold down on it and then go down to this convert vertex tool and then you can just click on these points and those will be turned into curved points now if we click on either one of these handles it'll adjust both of the curves so on both sides but instead what we want to do is just let's just switch to the pen tool by clicking g and now we can hold down control and you can see the icon switches and then we can just click on one of them and control them individually so we'll do one like that and we'll do one like this for this one actually we'll control both of them at the same time so no need to split them this one at the top just make sure you straighten that out and then over here at the top you could also bring a guide in so that these curves go up the same amount on both sides so everything is perfectly symmetrical now i did forget to do one thing and which is very important actually so let's go back to the active camera view let's shut off the original logo we'll bring these two back to 100 opacity and you can see how they're sort of intersecting with each other and that's because of the way they are positioned in 3d space so so if we switch to say a custom view one so we can move around the scene in a non-destructive way basically the p is positioned like at the center of the s letter and what we want is to actually position it sort of right here instead and the way we're going to do that is to let's go over to the top view on the right here and select the s shape we'll hit y to bring up the anchor point tool then we'll just click and drag on the anchor point and we'll hold down control to snap it to that corner right there or we could just simply turn on the snapping right here at the top and now it'll automatically snap into that point then we'll grab the p letter let's just rename that real quick 2p go back to the front view and we'll set the anchor point for this at the bottom and now once we copy the position of the s and paste it to the p letter it's gonna jump to that exact same spot now we can go back to the active camera view and then we'll bring back the original logo bring these back to 50 opacity and now we can go ahead and make adjustments so that everything lines up perfectly again now first of all if we go in here and just zoom in you can see we have to push it a bit to the left like so and then we can maybe just grab all of the points here at the top and just move them down and then we'll move this one to the left and there you go we can now bring these back up to 100 now let's switch back to one view and then go back to the active camera and we could also go over to view and just clear the guides and then ctrl r to hide the rulers now if we click c to bring up the camera just orbit around you can see we have ourselves a 3d playstation logo we can turn off the original one and we're all good to go now if we duplicate the original logo and just move this one over and bring the opacity back you can see the original one the s shape has these sort of parts so it's it's split into different kinds of parts with different kinds of colors now a really easy way to recreate that would be to use the trim paths effector so if we go to the s shape and under contents we can add a trim paths effect and if we go down here and adjust the end value for example you can see how it trims away at the path so what we're going to do is first of all let's make sure that the trim paths and the round corners are inside of the shape then we'll bring back the original logo in its original position decrease the opacity for this one and we'll shut off the p letter and we'll use the original one as a reference to trim the paths so get this first one to line up there then we can rename this to yellow right and then duplicate it so ctrl d or edit duplicate then we can go down to this one and then under trim paths again we can just make adjustments to the end or the start value now they can overlap a bit but that's fine and we'll rename this to cyan right and keep going okay so you can see here i duplicated all of these shapes and then adjusted the trim paths on each one of them to get the desired effect so now what we can do is just select the shape and maybe search in here color and then start pick whipping the color from the original logo so let's see here we go down the yellow right we'll pick the color from that the cyan right will do that the blue one will do that and so on and so forth okay now if we clear the search shut off the original logos and bring the opacity back to 100 you can already see what's going on now of course we also need to get the color for the p so in order to do that we could either go down to the color for this and pick that or we could have added say a fill effect or a tint effect or whatever works best for you i like to keep things as clean as possible so in the future if you want to make any adjustments we can easily do that without having to hassle around the scene okay we're pretty much set up with the shape and now we can start animating now the first thing i want to do is select the camera hit aa to bring up the camera options and i want to make sure the zoom is set to like 10 000 and the reason i'm doing this is because i wanted to have sort of an orthographic view so remove complete sense of depth and this way even though we're close to the logo we don't have any sort of like wide angle view to it and now we can just right click hold down shift by the way to dolly out much faster and we'll go back to the original state first off let's focus on the p letter animation and what i did in the original one was to just reveal it from the bottom up now you could think we could simply get away with say a linear wipe effect so let's just control space and by the way this brings up the fx console plug-in which is a third-party plugin from videocopilot.net and it allows you to simply click control space to bring up a search bar here and then type in whatever effect you're looking for so linear wipe you just search that hit enter and it adds it to your effects controls instead of using the default effects in presets bar here so you could just select type in linear wipe or whatever and just click and drag it just saves you a few extra steps and on top of all that it's completely free so i definitely recommend that you check it out anyway back to the linear wipe effect let's get the angle to face 180 degrees and then we can just increase this and maybe zoom in here see if we can adjust the wipe angle to get the perspective right so something like that and you know if if you didn't have a moving camera you could simply get away with this but since we're going to be animating the camera what happens is because this is a 2d effect when we orbit around the scene the wipe angle doesn't really follow so let's just delete the linear wipe effect and what we'll do is go over to layer new solid and we'll type in p matte color doesn't matter and we'll hit ok then we'll switch this to a 3d layer let's zoom out here hit y to bring up the anchor point snap it at the bottom of the layer select the p letter hit p to bring up the position ctrl c to copy the position and ctrl v to paste the position to the mat and so now the solid that we just created is in the exact same spot as the p shape itself now all we have to do is just scale it down just so that it roughly covers the entire p letter and we'll leave it just above the top there and we'll bring it right above the p letter and we'll hit f4 to toggle the switches or you can click down here or you could even just enable them to stay on all at the same time and you also have this one for durations and stretching and all that but i do like to keep this one off and we'll set this one to alpha matte the layer above and so now check this out if we just scale this down it uses it as a matte and also say we orbit around since this is a 3d layer as well the angle is going to match properly ctrl z go back to normal and we'll set the scale to be right there at the top and what we'll do is just hit s bring up the scale hit the stopwatch and then we'll go over to say 30 frames which is half a second remember we're doing 60 frames per second and we'll set a keyframe there at the end so this is the end position we'll go back to the beginning and we'll just drag it down all the way at the bottom or we could just unlink these and just set the y scale to zero and now if we hit n here to bring up the work area end and hit zero to ram preview you can see it reveals from the bottom up of course we could hit eu to bring up the keyframes on the pmat and just select those and just hit f9 to smooth them out actually for the first one i just want to leave it a linear by the way i'm control clicking on them to put them back to linear keyframes or you could just hit f9 to make them into ease keyframes and you could right click go to keyframe velocity and then i like to do 75 percent and we'll preview that so you can see it starts off fast and then slowly comes to a stop and we're pretty much done with the animation of the p letter now as for the s letter what we're going to do is select it go over to the search bar and type in offset and we're actually going to animate the offset value for each of these paths so you can see what that does if we just increase this one you see just offsets the path around the mass that we have created now if you turn on the stopwatch for all of these paths and just move forward in time and then set a keyframe there then we can go back and then just make sure you drag them on the negative side what's going to happen is they're going to come in from this side and then end up to the spot that they're supposed to be originally now i don't want to overdo this so let's see let's just drag it uh make sure that that last piece is uh just starting to come out so like that now of course we need to select this offset value and we can go over to edit copy and then we can select all of these offset values by holding down control and then ctrl v to paste and now you can see everything is just moving in the same direction let's just select all of these and then we'll hit f9 right click keyframe velocity 75 percent now let's also adjust the timing of these so we'll bring them back all the way at the beginning here and let's see where was the pmat so yep exactly at the same time actually we need to push them forward a bit and i think those are a bit too fast so we'll click and drag and just move them back to one second and also these ones will just move them back to like i don't know 130. now finally what we need to make sure we do is to also reveal this s shape behind as well so we don't want to see it at the beginning we just want to reveal it the same way as we do with the p letter now you might be thinking we could just go down here to the contents and say add an effector which is the trim paths and just start to increase or decrease that but you see the problem with this is that the way it renders stuff so even if we switch the mode to individually it's gonna start to pop everything in one by one so we're still not going to be able to get the exact result that we want so let's just delete that and then we'll duplicate this so this is going to be our s matte and we'll go down to the contents and we'll delete everything apart from one of them and we'll go down to the trim paths and just uncheck the offset and right click and reset we'll also bring the end value all the way to 100 and then finally we'll set this one to alpha matte and this way we'll use the trim paths of this one at the top as a matte and will reveal the entire thing so let's just set a keyframe here at the start bring this back to zero and we'll go over to two seconds and we'll bring this back to 100 f9 and 75 let's go ahead and see what that looks like now finally we can focus on the camera animation so let's select the camera hit p to bring up the position set a keyframe there at three seconds then we'll move back a bit and then hit c to bring up the camera tool and just start making adjustments to it and let's see oops that's too much so we'll bring it very close to the camera and then we'll maybe orbit around like so and we'll just bring this over here at the start and now we have this animation again we'll select this one we'll f9 to easy ease and we'll bring this one all the way to 100 actually so let's just preview that and i'm thinking maybe the pmat could uh finish its animation in the same amount of time as the s-mat does so let's see let's hit u on this and hit u on this actually let's just bring them both to 130. and let's see i'm gonna zoom in here make sure this just stays slightly on top and then i think one last thing that i did was to hit aa to bring up the camera options and we'll set a keyframe for the zoom and we'll bring this one at the start here we'll set it to like 12 000 and we'll go over to 4 seconds and we'll set it to 9 500 and we'll also easy ease that and this way even though the camera comes to its final position we still have some sort of extra zoom out all the way at the end and we'll select this one keyframe velocity and we'll do like 60 all right let's give that one last preview okay so that was pretty much it for the playstation logo animation we can now move on to the ikea logo animation moving on with the ikea logo let's go over to composition new composition and we'll rename this to ikea tutorial we'll leave the settings the same as before but this time before we hit ok let's go over to 3d render and make sure we switch to the cinema 4d render and you'll see why in a minute let's now hit ok we'll drop down the materials folder and under ikea let's drag and drop the ikea logo into our comp we can hit s for scale and just scale it down and then let's quickly create a new solid and we'll get the color from this hit okay and we'll rename it background and just bring it at the bottom before we go ahead and recreate the ikea logo let's just shut it off for a second just so we can focus on the features that are available with the cinema for the render so let's go up to the text tool click and drag and we'll just type in ikea in this case and then we'll select it ctrl alt home control home hit s bring up the scale and just scale it up let's just set the color to white and hit ok and now we'll switch it to a 3d layer and once we go down to the contents of the text you can see down here it says geometry options and material options and these are available only with the cinema for the renderer so if we go down to the geometry options you can see we have three values here or actually four that we can control now the first one is the bevel depth and if we increase that nothing really is going to happen just because the bevel style is set to none but before we play around with that let's take a look at the extrusion depth right away when we increase that you can see what's going on basically it's being extruded in 3d space we can see that a bit better if we create a new camera so let's do that and then hit c and just orbit around now do keep in mind that this tends to slow down your computer even though right now we only have a simple 3d text if we orbit around in full quality it's still lagging a little bit but if we just scroll the wheel on our mouse and just go down to quarter you can just orbit around a bit quicker anyway we'll go down to the bevel depth now and we'll just increase that and switch the bevel style to angular for example and you can see what that does it basically creates a bevel right at the edges here so let's go back to half resolution and then you can play around with different kinds of bevels so if we switch to concave or convex and right now we don't really have much definition because the lighting is completely flat or actually we don't have any lighting for that matter so let's go over to layer new light and we'll create an ambient light we'll set it to 50 hit okay and then we'll duplicate this and we'll go over to layer light settings and we'll set this to a point light and we'll set it to 100 intensity and we'll also leave cast shadows on and hit ok now we got just a bit more definition to our scene so we can move around the light then we can go back to the i key and just start playing around with the different kinds of bevels now there's also this whole bevel depth which basically affects any sort of letter that might have holes in it so it would be the a letter for example i think also the o letter so let's just double click on that and see if you increase this to a hundred percent there will be bevels created inside holes as well but if you leave it to zero there won't be any bevels inside of holes but let's control z and let's get rid of the o letter and also set the bevel style back to none then we can go down to the material options and you can see there's a bunch of material options down here first of all we got the cast shadows and if we turn that to on since the light that we're using the point light has cast shadows on and you can see down here it says cast shadows on and also shadow darkness so let's just increase that just so we can see it a bit better and also bring down the diffusion to zero and we can take it one step further we could maybe go over to layer new solid and we'll make this white and rename this to ground we'll turn this into a 3d layer hit w to bring up the rotation tool and just rotate it 90 degrees this can act as our ground essentially so we can scale it up and there you go you can see that shadows are being created on our ground now in this case say we want the ground to be completely white well what we could do is just aaa on that to bring up the material options and just set the except lights to off and so what will happen is it'll be completely white because it won't be affected by any lights on our scene but it will accept shadows now there's another cool option that comes with the cinema 4d render and that is the reflection intensity so if we increase that to 100 for the ground layer you can see it actually reflects our text now let's switch to full view real quick and hit c to bring up the camera and just move in here you can definitely see how slow that is though when it comes to reflections you can definitely notice that there's some aliasing going on so that's something that you should keep in mind when it comes to using reflections with the cinema 4d render anyway let's bring the reflection intensity back to zero percent and let's go back to the point light and maybe increase the shadow diffusion just to make things look a bit prettier and we'll also maybe just bring down the shadow darkness to 75 percent we could maybe say select the ground and go over to layer solid settings and just pick the color from our actual background just so we can see things a bit better and maybe even just tone down the shadow intensity now there's one last thing i want to cover before we move on to the actual logo animation so we did create the text layer and we saw what kind of features are available under the geometry options and if we go back to the shape layer make sure nothing is selected and let's just create a shape layer here and we turn this into a 3d layer and go down to the geometry options you can see we have pretty much the same values the same options whereas if we select the solid ground and go down under the geometry options you can see the values are a bit different and in this case just to see a bit better let's go back to the solid settings and make this completely red we can increase this curvature value and basically it just bends the entire solid so you have this curved plane and we can maybe even just increase the segments and we'll hide the shape layer just so we can see it a bit better so that's the difference between shape layers and text layers compared to solids whenever you're using the cinema for the render okay so with pretty much all of the features covered we'll now select all of these layers that we created and just hit delete and we'll bring back the original logo and now start recreating this now same as before we'll go over to view show rulers and start making guides so that we can use them and recreate the shape ourselves so let's go ahead and get started we'll bring a line down here and we'll bring a line up here first and foremost and now we'll start bringing lines horizontally as well as vertically to have everything in place now i'm going to speed past this process just because it does take a bit of time but you pretty much get the idea okay so i finished up adding a bunch of these lines and they'll make complete sense once we start adding the points so let's click g to bring up the pen tool make sure you don't have anything selected at the bottom and then start adding points of course do make sure snap to guides is turned on and then we can just click and click and hold and just snap it to all of these corners and now as we move along you'll see why i created certain lines in certain intersections so wherever i want to snap a certain point that's where i created a vertical line and also a horizontal line so let's just keep adding these points and we'll close that one out we could even just shut this one off just so we can see things a bit better but do make sure that you have this selected whenever you're adding new shapes so that the shapes get created inside of this layer by the way you can see there's some sort of curved lines here on each of these letters edges well we're just going to skip past those just for the sake of simplicity okay so now that i'm finished recreating the letters let's control r to hide the rulers and just so you know you can actually export guides so before you clear them say you want to save them for later use for example we can go over to view export guides and we'll just type in ikea guides and we'll hit save now if we clear the guides we can go back to view import guides and then just double click on the guides that we saved and there we have it anyway that was just a quick tip that i wanted to mention but let's just clear the guides and now let's select the shape layer and first things first let's just search for stroke and we'll select all the stroke effectors and we'll delete them because we don't want any strokes on our text and now we'll clear the search and turn the shape back on and let's just rename it to ikea now let's go down to the contents and i think it should be the last shape yep that one we can just go into the shape five and also shape four we'll select this path on the shape five which is the inner part of the a letter and we'll just bring that into the shape four and also move it on top of the fill and then on the right side here you got these two icons well we can click on the one on the right to reverse the path and this basically makes a hole inside of the a letter now let's just delete the shape five since there's nothing in there next up we could turn this into a 3d layer and the first thing you might notice is that this hole is filled in again and that's because for some reason after effects doesn't take into account the reverse path option whenever the layer is a 3d layer so what we're going to do is select the shape and add a merge paths effector and then go down here and just set it to merge and there you go then we can drop those down and go over to geometry options and just like i showed you before we can increase the extrusion depth so let's hear we can maybe bring this up to i don't know 150. we do need to have a camera so we can see things a bit better so let's go over to layer new camera hit ok and then we can left click and orbit around now you do want to select the ikea layer and just search for color and we'll delete all of the fill effectors and then go into the contents and add a fill effect and leave that outside all of the shapes so we have one single fill effect to worry about and we'll set this one to be the same color as the blue of the ikea also just to make things a bit easier to see we'll duplicate the background and then we can go over to layer solid settings and we'll set the color to this yellow background and we'll shut off the original logo for now now the camera is oriented in a weird way so let's hit p to bring up the position and we can right click and reset on that and let's just do a few more things before we get to the animation part and that is to create a new light so let's go over to layer new light and we'll set it to an ambient light with 50 intensity hit ok and then we'll duplicate this and go to light settings and we'll set it to parallel light with 50 intensity as well cast shadows on sure and then hit ok now if we go down and turn off the yellow background we want to make sure that the front side of the text is the same color as the original background color just so that we stay consistent within the design concept anyway we'll bring back the yellow background and now we can hit c to bring up the camera tool and maybe start to get the orientation that we're going to be using so let's see maybe something like that do keep in mind that parallel lights don't really make any difference if you just move them around the only way you can change the look of the scene with a parallel light is if you adjust the point of interest so let's see we can maybe drag it down a bit we'll go down to the ambient light we can maybe increase the intensity we'll bring back the background so you can see if we have the same color so something like that again we're looking to create as much definition as possible so you can tell the difference between this shape on this side and then this shape of the k on the top side so basically each side has a different value of luminance now we're pretty much ready to animate but before we do that let's go down to the camera options and i'm going to make sure we go to 10 000 zoom for this one as well just because i want this sort of isometric look for the ikea logo animation as well now we can hold down the right click button hold down shift to really dolly in and out very fast see maybe even zoom it in a bit just so the letters are a bit bigger now before we do anything let's just talk a bit about the concept of the animation so in the original logo animation what i did was to morph each of these letters into each other and then all the way at the end i had them appear one by one so we're left with the ikea logo and then finally the yellow circle comes in and we end up with the original logo design and the way we're gonna achieve that is by animating the path value for all of these letters before we do that let's just duplicate this ikea layer four times so one two three four we'll hide the bottom one so we'll leave that as a backup for the original and now we'll just go down to the contents for each of these and we'll start deleting shapes and only leaving one letter for each layer so for the first one we'll delete the first three shapes and i'll rename this to i then for the second one we'll delete the third and fourth and also the first one so we only have the k ladder and so on and so forth now what we can do is select all of them hit ctrl alt home to center the anchor point to each of those letters and then control home to center them all at the center of the composition and now they're pretty much in the same spot next up let's switch to two views horizontal and we'll go over to the front view on the right side and you can see they've been actually pushed all the way over there so what we can do just so we can see them a bit better in the front side is just to select all of these layers including the camera and just push them until the layers are pretty much in the middle of the scene just so we can animate them easier and you can see in the active camera nothing really changed because we did move all of the layers together with the camera next up we can hide all of the letters except the eye letter and start animating now as for the eye letter we can animate this in two ways either we can animate the path value or we could say put the anchor point at the bottom here and just animate the scale so that's what we're going to do just to be perfectly precise let's hit s to bring up the scale set a keyframe there and we'll move over to 10 frames set a keyframe there go back and we'll unlink the scale values and set the y scale to zero now we'll go over to the last frame and this is where we'll bring in the k letter by the way let's select all of these and just set the opacity to 50 on all of them just so it makes it a bit easier to see where everything is lining up and now for the k letter what we're going to do is just push it in the x axis until the left side of the k letter matches with the i letter now for this one we can search path and set a keyframe there push this over so this is where it's going to end up and then over here on the 10th frame we want to make sure the shape is the same as the eye shape so that it looks as if it is morphing in from the eye letter to the k letter so first off let's just select these two points on the left and we can push them over to the left side just so we line up with the eye ladder a bit better then we can select these two points and maybe line them up vertically with the middle point like so you don't have to be perfect with this and then we can select all of these points and just push them over to the left remember i'm holding down shift to snap them horizontally and what we want to do is just to make sure everything just comes in right there just roughly next up we can click on this layer and then trim it to one frame after the first frame of the animation and now if we zoom in here on the active camera view we can also trim the eye letter here by holding down alt and close square bracket so now if we use the page up and page down keys to move forward and backwards by one frame just focus on the active camera view and we could even just turn the opacity back to 100 we'll bring the work area and then hit zero again this is a bit too fast but you get the idea now we can maybe move this over to say frame 20 and then easy ease that and maybe even easy this now i'm probably not going to be able to get the same result as in the original logo animation just because of the way i set up the timing and i did play around with that a lot more than we're going to be doing in this tutorial because again we do want to keep it as short as possible while at the same time covering as many techniques as possible anyway now we can maybe linger for up to five seconds so we'll go over to frame 25 set a keyframe there and this is where the e letter comes in now what we can do is go over by 10 frames so frame 35 and we can copy this one so the initial state and then ctrl v to paste so it goes back to the same shape that it had before now we can bring the e letter back on and we'll just reposition it again just so that it it sits within the k letter ignore all of these weird shapes that are being created right here we'll go one frame before and trim it there and then one frame after we'll turn the e ladder back on and this way we can just animate the path for this we'll go over to frame 45 get a keyframe then we'll go back a few frames and i think what i did in the original animation is you just have these lines come in one by one sort of like drawers for example so so let's select both of those points and just bring them over to the left side you can zoom in here and just make sure everything is in line and then we'll move back a few more frames and we'll just set these to be right in line let's see we'll do like five frames each so 45 this comes here and then 50 this comes here and we can easy ease all of those and maybe give 10 frames to the last one and even 75 percent that so we'll right click keyframe velocity and just 75 and hit ok let's just keep moving for now and get done with the a letter so we'll go over to 1 seconds after we've left this to linger for like 5 frames we'll set a keyframe there and then move over to 1 and 10 and we'll copy the first keyframe paste it over and now for the a letter what we need to do is just to morph it on the left side instead so we'll turn on the a letter trim it here alt open square bracket with it selected we got the path searched up at the top here we can just hit enter and this will reveal the paths what we'll do is set keyframes for both of those and we'll also make sure to move it all the way over to the left side we'll make sure that we have the corner here the point here lined up with the shape of the e letter then we'll move these two path keyframes over and now we'll start making adjustments in a way that would make sense so what we need to do is make sure that this lines up with this shape or like with this line and then this lines up with that line trust me it all makes sense once we see it in action then this one has to line up with this and this one has to line up with this we'll do the same thing with this one and we'll make sure that this goes all the way at the same spot at that point and we'll just drag those in and we'll make sure to keep them in line with these lines at the bottom finally we'll drag all of these points we'll move them over and then we'll drag all of those points and we'll move them over until they hit the edge here of the e letter so right about there we can push them one frame earlier and we'll select both of these in just f9 and 75 percent and also make sure we trim this right here so there you go that looks pretty cool but anyway now for the last part we need to make sure all the other three letters come in and to do that we're going to duplicate the original backup that we had and we're going to turn it back on first things first let's just control alt home to center the anchor point and then copy the position from this letter to this so that they sit in the same spot and then what we'll do is just bring the position of this until it sits in the same spot basically and then we'll go down to the contents and delete shape four so we don't have two a's and what we'll do now is parent these to the a letter and we'll rename this to i key without the a now we'll hit u to see where the keyframe was so we'll go there and then we'll give it like five frames to linger and then hold down shift hit p to bring up the position while keeping the paths set a keyframe there we'll move over by 145 and then we'll just bring this over to the right side and of course seeing as these are parented they will move with it now let's select these easy ease and 75 on this one by the way you might have seen this flow plug-in that i have docked in here it is a third-party plug-in but it does save me a ton of time whenever i'm easing stuff so like instead of having to select them and then going to keyframe velocity and hit f9 and this and that all i have to do is just select keyframes and i have presets saved in here and say we have linear keyframes just select them double click and now we have 75 by 75 on each but as i said this is a third-party plug-in but i hope you don't mind just saving some time from now on i'm gonna use these presets up here anyway let's see what that does we'll switch to quarter view just so we can preview this a bit faster so let's see that's a bit too quick we can maybe push this over like so of course we do need to orient the camera as well to have it come back to a frontal view and at the same time we're going to have the letters here come in and animate as well so let's uh focus on the letters first of all we can go down to the contents under the shapes for each of these and we'll drop down the paths of course we could have searched for the path as well but anyway we'll set a keyframe for all of these we'll push these over and now instead of having to go in and adjust these again what we'll do is go over to the individual letters here and just copy the path keyframe right here where the e letters are completely off we'll copy that and we'll go back here and see which one is the e shape so i think this is the one so yeah we'll just paste the shape right there and now we have a flat out shape but of course we don't need to put it on that keyframe we have to go back set a keyframe here and we'll just paste it there and so now we have that same animation so that we don't have to bother recreating the shape again we'll do the same with the other two now let's bring this down and let me just show you something real quick so what we're going to do is have both of these shapes go inside of the eye letter like so and then finally we'll hit s to bring up the scale make sure that the anchor point is right here at the bottom somewhere so that when we animate the y axis it comes in from the bottom and what we'll do is just set a keyframe there move this forward and bring this one down to zero now if we hit u to bring up all of the keyframes let's just adjust the timing like so now we did not adjust the path of the eye letter so we'll just delete that keyframe and we'll easy ease those and will 75 percent this remember all i have to do is select the keyframes and double click on that now if we go back and maybe push these back as well have the start to come in at the same time and also end up at the same time now if we preview this and just look at the active camera what's happening is they're all scaling up and at the same time the k and the e letter are coming out of the eye letter now we could say for example have the scale start coming in a bit earlier and the path come in even earlier and then this one just comes in later we just move the timing i think that's the wrong order we'll do we'll do this so that we have the e letter coming a bit earlier and then finally they all stretch into place now before we start animating the camera let's go over to the top view and make sure that the point of interest is sitting exactly at the same spot as the ikea logo let's go to two views we'll see in the top view on the right side and let's here let's just make sure that the the view doesn't change too much on our logo animation so something like that so that now in the active camera view when we orbit around it orbits around the ikea logo now we can hit p to bring up the position set a keyframe there move it back in time and then right click on the position and hit reset of course we might see that it's not really aligned too well but we could maybe push it like so until this line is perfectly in the center we could also just turn on the original logo and try to align it to that it needs to be a bit bigger so we'll dolly in and then we'll move over like that as well it actually needs to be a lot bigger so let's do that we'll see how it looks so we'll turn off the title action save turn off the original logo and then easy ease those again this is way too fast we could maybe drag this one over and set that to 75 percent so that it takes a bit longer to orient but we could push it a bit to the left now another extra layer of animation that i added to these letters at the beginning is to animate the position as well so if we hit u to bring up the keyframes and then hold down shift hit p we can set a keyframe for the position bring this all the way over to the beginning and then go over to the last frame what we can do is actually push it to the right side as well and then f9 these just so they have the same easing and so what happens is not only do they morph from the eye letter but they also move over to the right side and then set a keyframe here and then go back to the end and then set the same keyframe so it goes back to the initial state and then we can do the same thing pretty much for the e-letter so we'll hit u to bring up the keyframes and for the e-letter we can actually go over to the last frame so where all of these lines come in and we'll set a keyframe there and we'll just move it over like so hit f9 and we'll 75 percent that and then we'll go to the last frame make sure we have the initial state and we can do the same thing for the a letter as well but we're going to skip through that and then all the way at the end here we can see where the camera starts to orbit around so it goes into a frontal view so we'll select the camera hit u and then we'll go to this keyframe and what we'll do is select these two layers and search up here for extrusion depth so extrusion depth and we'll set a keyframe for both of those and we'll go over to the last frame and we'll set the extrusion depth to zero f9 those and 75 percent these two first keyframes this way as they are rotating the extrusion is also shrinking down so when we go to full frontal view we have a complete 2d logo as opposed to having extrusion which might end up you know just having some sort of edges here visible and we do not really want that so yeah let's control z actually and we'll have these both at zero extrusion depth and the final thing is to add the circle animation so we can turn the original logo back on to use as a reference we'll select our yellow background double click on the ellipse tool which will create a perfect ellipse then we can double click on the mask and then hold down control and shift to scale it down proportionally and we'll just make adjustments so that seems fine and then we can hit m to bring up the mask path set a keyframe there move this over and then just double click on the mask and have it just scale up like so and we can line it up with the timing of the camera as well okay so there you go we're pretty much done with the ikea logo animation as well of course i am aware that this clearly doesn't look as good as the original version that i did and that's to be expected since i'm not trying to perfectly recreate the animation from start to finish but i am trying to cover pretty much all of the techniques that i use to create this animation with all that said we can now move on to the last logo animation for this tutorial and that is the apple logo animation all right moving on to the next and last logo for this episode we're going to be taking a look at the apple logo animation let's go over to composition and we'll create a new composition for the last time and we'll just rename this to apple tutorial now keep in mind that after effects remembers the settings that you last used so we're gonna have to go to the 3d renderer and make sure we switch back to the classic 3d and we'll leave the settings all the same and hit ok then we'll go under materials apple and we'll grab the apple logo and just drop it into our comp and right away we could use this png image since it is transparent but what i want to do is actually recreate this with a shape layer so let's go over to the rectangle tool and we'll click cue to switch until we get to the ellipse tool make sure we don't have anything selected and then let's turn on the title action save and we'll make sure to click right here in the middle and hold down control alt and shift then we'll let t bring down the opacity just so we can see behind it and then we'll go under the contents and we'll delete the stroke also we'll right click on the ellipse path and convert to base a path we'll hit g double click on the mask and we'll just bring this one down we'll just put it like so and then we'll start making adjustments as we go so maybe just uh scale it down like that of course we do need to add extra points so we can align it to the shape properly so what we'll do is select the shape hit g and then we'll just start adding some points here so we'll do one here and then we'll do one here on the other side and then we'll just start adjusting these so we'll bring this this one up and then we'll select both of these and just bring them down then we'll bring this point here at the top a bit lower like so and then we'll add two extra points here on the sides we'll select both of them and then bring them up and you may be wondering why i'm leaving the apple like a full apple instead of a bitten apple well that's because as you saw in the original animation what i did was to have the full apple come in at the start and then it's as if it gets bitten and then it shatters off into the side from this part here but we'll get to that a bit later now let's move on and recreate the leaf shape as well and we'll do that into a different layer so we'll make sure we don't have anything selected we'll select the ellipse tool and then we'll just click and drag around here go down convert this to bezier path delete the stroke and then double click on this and we'll just rotate it like so make sure you get these two points to line up here so the one at the top and the one at the bottom we'll hit t to bring down the opacity and then we'll select these two points we'll delete those and then we'll hit g and then hit ctrl so we can adjust these independently like so and there you go we pretty much have the leaf shape at the top as well so we can rename this to leaf and apple body and if we turn these back to 100 and shut off the apple at the bottom there you go we have successfully recreated the apple shape and of course this is all vector based so if we hit s to bring up the scale and just scale this up like crazy we're gonna maintain sharp edges ctrl z to undo that and now we can move on to turning this into a 3d object by using you guessed it or maybe you didn't i don't know the shatter effect so let's select the apple body control space to bring up the effects console again and just type in shatter now right away you're going to see this weird looking ui because the view is set to wireframe and forces so we can switch that to rendered and it still looks like nothing is happening until we move the playhead in the timeline so you can see if we move forward in time it is indeed shattering now in this case this is not what we're looking for so let's go ahead and play around with the settings and see what does what so we'll go over to the shape first of all and under pattern what we want to do is switch this to custom and you can see that makes it disappear and that's because we're not using any map for the custom shatter so what we want to do is switch the custom shadow map to the apple body so that is this layer and now it is using the source from this layer then before we look into any of these other options let's go down to the force and make sure that all of these values are set to zero so zero depth zero radius and zero strength and this way we won't have any shattering effect going on basically the force one controls the initial impact of the shatter effect now we can go back to the shape tab and we can just set the repetition to whatever we want it's in this case we're not going to have a shatter effect going on so the repetition value is not going to do anything except we want to take a look at the extrusion depth and just increase that to say 1. and we can see what this does if we head on over to the camera system so right now it's using its own camera position and that means it's got its own xyz rotation and position what we could do instead is maybe switch to the comp camera and right now it just disappears because we have no cameras in our scene but we could go over to layer new camera hit ok now it's back and we can just hit c and just orbit around and you can see that indeed we do have a 3d shape now it is a bit weird on the sides here and the way we can fix that is let's just go back to the apple body and under the textures here you can see that the front mode side mode and the back mode are all using the layer as a texture but instead what we want to do is switch to the color for all three of these and the color mode is going to use this color value up here and therefore it's going to end up fixing our problem now you can see if we switch the color to any type of color that we want that automatically updates it and there's also different kinds of modes here so we got color plus opacity so in this case it's going to use the opacity value as well for the front side so if we lower that down you can see that we can actually look through the front side as if it was like a glass material for example but we'll switch this back to color and we'll just reset the opacity to 1 and we'll bring back the color to be completely white now if we go back to the extrusion depth we can actually play around with the extrusion here it's pretty much the same thing as with the cinema 4d render where we would go down to the geometry options and just increase the extrusion depth but anyway we'll leave that at 1 and we'll go back down to the textures and just so you know if we go back to the layer mode let's say we have a solid with a texture whatever we'll do like fractal noise and we'll pre-compose this so ctrl shift c to pre-compose or you can go over to layer pre-compose move all attributes and we'll just rename this to texture we'll shut that one off and go back to the apple body you can see here it says front layer well we can choose that texture and you can see that this allows us to actually mix in textures as well to allow for some pretty cool results we could even set the side modes to layer and select the texture as well but do keep in mind that the side tends to sort of give you a stretched result so there are definitely some limitations when it comes to using the shadow effect but in our case we're gonna switch back to colored mode and not have to worry about the textures at all and we'll just delete this comp now moving down we'll also take a look at the lighting and the material tabs so we'll go under lighting under light type we can see that there are actually three different types of lights that we can use right now we're using the distance source and then down here we got the light color so obviously you can see what that does and then we can move it around x y position increase or decrease the light depth and then over here at the bottom you got ambient light right now we have some shadow on the sides because the ambient light is set to 0.25 but if we were to set this to 1 everything would be pure white but anyway let's just ctrl z to undo everything and set it back to its original state and then we could switch to the point source but i don't really see a huge difference between the two but with the first comp light you can actually set it to that and this will become completely dark just because we don't really have a light on our scene so if we right click go to light make a point light and hit ok you can see now we can use our light in the scene and this makes it a lot easier to just know where everything is in the scene so we'll actually use a point light from now on and then we'll go back to the apple body and over here at the bottom you got some extra controls for like the diffuse reflection you got specular reflection so you can like increase the intensity of your specular oh and now that we're zoomed in you can see there's this sort of weird thing that gets created like you got these sort of edges on the sides it's as if there's not enough polygons and it's not really smoothed out so you do have to keep that in mind whenever you're using the shadow effect to do 3d extrusions of shapes but anyway we have covered pretty much most of the things here so we'll now move on to the next steps first off let's select the camera hit p and we'll just right click reset the position so we're back to where we started then we'll select the apple body and we'll go down to the camera system and in the original logo what i did was to animate the apple body and the leaf at the top here to come in at separate timings so that means we're not going to use a camera from our comp instead we're going to use the camera position from the shatter effect itself and this way if we copy the shadow effect ctrl c and then select the leaf ctrl v to paste it then let's go over to shape and make sure we change the custom shadow map to the leaf itself so now it's using its own shape to extrude and since we set the camera system to the camera position we can control the shape position and rotation independent of the apple body position and rotation so ctrl z undo everything go back to the original state and now we can start to do some keyframing so select the camera delete it select the apple body and we'll go down to the camera position and rotation let's just set a keyframe for all of these so all you can do is just click on one of the stopwatches and hold down your mouse and just scroll down here and then we'll hit u to bring up the keyframes we'll go over to say one second and then we'll set a keyframe there we could maybe just push this in the z space so we'll go i don't know maybe three in the z position and then we'll go back to the beginning we'll maybe drag this close to the camera rotate it it can sort of cover the entire screen like that and so it just comes in like so i'm just playing around with the values and you can do the same see what works for you and what we'll do is actually copy all of these keyframes and just select the leaf body and just paste them and this will basically copy the entire animation we can then hit u on this one as well and then just select all of those and hit f9 and what i want to do is actually have the rotation of the apple body come in a bit earlier so body comes into place a bit earlier and then the leaf takes a bit longer to orient properly and we do have to put this underneath the apple body so it renders behind it you could maybe select all of these and 75 though so it rotates a bit faster and pretty much at one second we want to have all of them be at their final position so that we can have the shatter impact right at this point now before we move on with the shattering effect i do want to add a couple more things so first off let's select the leaf body and under the camera position you can see it says focal length so i want to set a keyframe there hit u this will bring up all of the keyframes and we'll go back here set this all the way at the beginning and we'll head on over to say four seconds and just decrease the focal length a bit more so we'll say like i don't know 45 and we'll f9 that and set it to 75 percent and we'll copy those values and uh we'll paste them into the apple body but do keep in mind that wherever your playhead is in the timeline when you paste it we can hit you choose to see where it is it's actually gonna paste the first keyframe on that playhead so we're gonna have to drag this back just so that we have the constant zoom on both of those objects and now if we give that a preview you can see they come in in their final position but they just keep on zooming out a bit longer now i do maybe want to have these just um 75 all of those just so that they come into a stop in a more smoother way and i do want to play around with the lighting a bit more so maybe we'll go back to the lighting and we'll increase the ambient light to 0.5 we'll do the same for the apple body and we'll also select the point light double hit a so aa to bring up the light options and we'll set the intensity to 100 and i don't know we'll maybe bring it in a bit more to the front so that it has sort of like a gradient from this point i wanted to have more of a backlight so i think that looks fine maybe we could bring down the intensity a bit but i do think that we just because we played around with the diffuse reflections here the material that's why it's a bit intense on the side so we can right click on those and just reset them to default now it won't be as intense so we'll do the same for the leaf here anyway as of right now i'm pretty happy with the way this is moving so we'll just drop those down and what we'll do next is gonna blow your mind get it as in shatter blow anyway we'll head on over to one second and we'll select the apple body and hit ctrl shift d this will split the layer right at that point then we'll go into the shape and we're going to actually adjust this so let's just shut off both of these layers and we can bring back the original logo and just so we can use that as reference and we can even i don't know maybe shut it this off so it doesn't distract us and what we want to do is actually adjust the mask so that it has this sort of hole right here where it got bitten so we'll select this hit g to bring up the pen tool and we'll add two points so we'll add one here and we'll add one here and we'll click g bring up the pen tool hold down control and just bend this and we can actually delete this point and we'll just adjust the shape like so and we'll rename this to apple bitten and then we'll duplicate this ctrl d and then we'll rename this to byte and now we'll create the shape that's supposed to be inside of here so we'll hit g we'll create a new mask just click and drag like so and then we'll just adjust it doesn't have to be perfect because this is going to shatter but we do want to make sure that we have the shape to be approximately the same size and so that looks fine we can go down to the contents and then just delete the ellipse and go down into the shape that we just created and delete the stroke now we can turn this back on and of course we want to make sure we go to the shape and switch to the byte shape and then we can turn off the original logo turn the apple bitten shape back on as well and just make sure that we are using the pattern of the actual apple bitten shape and there you go now we can already tell that these are two separate parts okay so now we can start shattering our piece so first of all let's go over to the pattern and make sure we switch to a glass mode and right away you can notice that the shape goes back to sort of like a rectangle shape and to fix that we go over to the texture under front mode we want to switch all of these modes back to the layer mode and that should basically use the layer that we currently have but now you can see it's all the way down here so what we're going to do is just start playing around with the physics and the repetitions and all of that so first off let's go over to the physics and now from this point on it pretty much comes down to personal taste but in the original one what i did was to just have the gravity direction be at 90 degrees so it just pulls over to the right side then we can maybe decrease the gravity a bit increase the mass variance and you can notice there's not many pieces right now and that's because the repetitions is set to one so if we increase this we're gonna have a lot more pieces but of course now this sort of breaks the effect and that's because under the force tab we have everything set to zero so let's go ahead and just right click and reset these to their default value and right away you can see they go off into the distance now what i want to do is actually let's just drag this byte over here to the side and maybe say go back by 10 frames before the actual impact and we'll set a keyframe on all of these values and then go back by one frame and we'll set them down to zero and this way the impact doesn't really happen until we hit the keyframes right here which have all of the depth radius and strength values so it actually starts to shatter from that point on and as it is it's not really too much of an intense impact so let's go over to the physics and play around with these settings so let's see we'll increase the randomness a bit and we'll also increase the viscosity maybe push the mass variance as well and then maybe we can even increase the gravity as well so that it pulls harder you can actually select the keyframes and have the impact happen a bit earlier now i'm thinking we need a few more repetitions here so we'll increase this so we have more pieces and then we'll increase the viscosity as well i'm actually thinking of just increasing the gravity a lot more just because this is the value that actually makes the most amount of impact so we'll set that to 10 and then we can even just select these points and have them happen slightly a bit earlier so if we go back here and maybe just push these a bit like so at the point of impact it's already like split from the apple body itself this just makes it feel that much more impactful and maybe even just increase the repetitions a bit more and just now i'm actually noticing that this is red so let's go over to the contents because it is using the layer itself let's make sure this is white and then hit okay then we'll go back and there's this value here that says gravity inclination and if we increase that it sort of drags the pieces a bit so they start off slow and then they go off fast they're kind of grouped up and moving slowly and then all of a sudden they just gain speed let's just make sure we trim this back to where it actually starts there you go that's looking actually pretty cool now what we can do to add even more detail is to maybe duplicate this and we'll rename the one at the bottom to bite big and the one at the top bite small and if we go over to the shape now let's make sure we switch to the byte small custom shadow map and what i want to do for this one is actually increase the repetitions to maybe 100 so that this one actually has a lot more pieces and then we can go down to the physics and maybe increase the gravity because we these are smaller pieces therefore they're going to be pulled a bit faster to the side we can maybe decrease the mass variance and increase the viscosity bit maybe even decrease it just depends on what you're going for but with the way physics work the smaller the piece the easier it is to move it around so i'm guessing these are going to be pulled much faster so we'll even decrease the gravity inclination here and now if you bring back the bite bic we'll see that these are moving at two different speeds now i don't really want them to split that much so we'll go back to the bite small and maybe we'll bring the gravity inclination back to where it was and even the gravity just a little bit and then i don't know maybe increase the randomness and so if we preview this we have some bigger pieces and then we also have some smaller pieces now as for the bigger ones we can actually go back and just decrease the repetition so there are fewer pieces maybe even just drag it down even more and increase the gravity inclination even more so you can see what happens basically they just go off at different speeds and that's actually looking pretty cool now we can move over to say two and a half seconds and we'll select both of those and hit alt close square bracket and then once we move forward by one more frame you can see that we're only left with the bitten apple now let's go back to the leaf and make sure we turn that back on and also the apple body at the beginning and we can quickly preview where we're at at the moment so let's hit end here and hit zero okay so there you go we pretty much have the final animation and i'm thinking we could even just put the bite small pieces behind the bigger chunks and as you saw it pretty much came down to trial and error so i highly encourage that you play around with these settings but yeah the shatter effect is definitely a very powerful effect which is built right in after effects anyway with all of the simulation part out of the way we can now focus more on the look of this so first of all i want to actually adjust the point light so that it comes in a bit more at the front because this is looking a bit way too gray we could even go back to quarter view and just try to adjust this like so and we could even animate it at the beginning so we'll hit p to bring up the position and we'll go over to one second set the keyframe there and we'll go back and we'll just push this back so that at the start the logo has a backlight and then as it comes to a stop it actually fills it in entirely you can even move it back even more and even animate the ambient light so we could just go in here and just set a keyframe there do the same thing for the leaf select them both hit u match the timing with the actual light there so um 0.1 and you can see how it actually fades in from being a bit dark and then the lights come in let's just select all of these and also give them 75 easing so they actually come in a bit faster moving on we'll go back to the project panel and we'll just click and drag on our apple tutorial comp and we'll bring it right over to a new comp we're going to give it our final touches first of all let's control y to create a new solid that's the shortcut for creating new solids and we'll set the background to be completely black hit okay rename this to black and then bring it at the bottom and we'll head on over to the first second and then what we'll do is ctrl shift d on the background and then hit ctrl shift y to bring up the solid settings and we'll switch this back to a white background hit new then we'll select the apple tutorial and ctrl shift d that as well and we'll control space and just type in invert so this will invert the colors now we're left with a black apple on a white background but i'm actually thinking that i use the other way around so let's just new adjustment layer and we'll do invert on the adjustment layer itself so right here in the beginning it starts off as black on white and then it goes off to uh white on black we'll just rename this to invert and then we can go over to the frame where we have the pieces just disappear i think that was at 230 so we can control shift d on the invert and just delete that so it goes back to being black apple on white background the other thing we're going to do is select all of those and ctrl shift c to pre-compose them one more time and we'll rename this to apple extra effects then before we do anything else let's just set the work area here to like five seconds hit n and we'll control m to add to the render queue or you could simply just select this go over to composition add to render queue and we'll just render this out so that when we duplicate it and add all of the other extra effects that we're gonna add it doesn't really slow down the process so let's go over to the output module and set the format to be quicktime hit ok and then hit render okay so after you've exported your clip what we're going to do next is select the comp itself and the clip and then hold down alt and just click and drag and drop into the composition and this will allow you to swap clips and this way now we're using the render clip which goes way faster now on to the extra effects that we're going to add let's select the clip hit control space and type in shift channels and we're going to give it sort of an rgb split effect so let's take the red from red we'll set the green to full off and the blue to fall off we'll duplicate this two more times we'll set this one in the middle to green and we'll turn off the red and the one at the top we'll set the blue to blue and we'll set the red to full off now if we select all three of these we can just set the mode to be screen for example and if we go back to full quality just so you can see this better if we move forward in time here if we just say push one of these to the side we can now get this sort of very cool looking rgb split effect now of course we don't want to overdo this so ctrl z to bring everything back to the same spot and let's just quickly rename this so we'll do red green blue push the red a bit to the left on the top side and then the blue a bit to the right on the bottom side next up what we could do is even add a bit of a blur so we'll do control space fast box blur and we'll do iterations one and maybe just increase this just slightly so it has some sort of glow to it as well so we'll do like two and we'll copy that and we'll paste that to the red as well and we could even duplicate this one more time and switch the dimension to vertical and then if we increase this this gives it vertical blur so i don't know we'll set this to 1 and we'll set this one to 2. we'll do the same here vertical blur radius two that's just sort of an extra detail we'll leave the green as is and then another thing i did is if we push over here to say two seconds if we go over to the blue layer hit ctrl space one more time and type in optics compensation and just start increasing this but also just reverse it you can see it sort of distorts it on the edges whereas on the middle here it just pretty much stays the same unless you just start pushing this like crazy but what we want to do is just push it slightly to like maybe 10 and then we'll copy that and paste it on the red as well so both of those are being stretched maybe even set the red to five just to give it even more variation just keep in mind not to touch at least one of them because if we say copy all of these effects and paste them to the green as well now all of them have the blur effects and the stretching effects so the logo is going to end up looking a bit blurry let's ctrl z to undo now apart from the visual style i also added some shake to the actual impact point so we'll go over to one second and we'll start animating the position of these so we'll hit p to bring up the position set a keyframe and we'll just manually do this so we'll go over by say three or four frames and we'll start moving these around so we'll go a bit to the right and then finally move over by a few more frames and just hit control home to bring them all back to the center we can also select all of those hit f9 and just make sure we have these last ones to say 75 now that's a bit too slow so we can just select all of them hold down alt and select the last keyframe and you can just click and drag and this will allow you to stretch all of the keyframes we'll bring them in and we'll also bring in these last keyframes let's check that out now okay that's much more intense now we could even go in here and say at this keyframe push the blue in some sort of opposite direction and this makes the split a lot more noticeable like so let's just keep doing this and push the red and the blue always in the opposite direction so the blue goes up now and the red goes down it just adds a bit of character to the overall design now let's select all of these go over to layer and let's pre-compose these one last time we'll do apple final touches hit okay and we'll select this one and hit control space wiggle and you can see down here it says wiggle position which basically adds a preset so you got a wiggle controller and a transform effect which has the position value linked to both of these values and what i'm trying to do is just go to one second set keyframes there for the wiggle speed and the wiggle amount go back by one frame set them back to zero so we have no shake before the actual impact and then go over to say two seconds or maybe two and ten and just bring them down to zero as well so we have this sort of huge impact right here when the shattering happens but it also continues to sort of float around the scene a bit so it comes to its top in a very smooth sort of way we can maybe drag these over and double click on the 75 preset there so we have a very smooth sort of animation and i'm thinking we go over to this frame and we'll do the wiggle speeds to 2 but just decrease the wiggle amount so it doesn't move around as much and maybe even just bring back the wiggle speed to 1 and set the wiggle amount to 35. you could maybe even drag this over now the last thing i want to do is just go back to the comp with all of these red green blue channels and just turn on the motion blur and also go back to the final touches comp and then we'll right click add a new adjustment layer and type in a real smart motion blur now keep in mind that this is a third-party paid plug-in but what it does is that it adds this sort of fake motion blur to our scene because the shadow effect doesn't really support motion blur so this is a good workaround now if you don't have the real smart motion blur effect what you could do is maybe let's just duplicate this delete the real smart motion blur effect on that and add the cc force motion blur that comes with after effects and then you can maybe increase the shutter angle and the motion blur samples and you can see here with without with without now over at this point since there's not much movement on these pieces you're not gonna have too much motion blur going on so maybe you could increase the shutter angle but then you get these sort of ghosting effects and maybe you could increase the emotion blur samples but that doesn't really do much so i definitely recommend the real smart motion blur that just makes it look a lot more cooler but anyway let's just give it one last preview okay so there you go we're pretty much done with the apple logo animation as well now please keep in mind that the purpose of these logo animations tutorials isn't to specifically teach you how to create the playstation logo animation for example instead we're trying to show you different kinds of techniques that you can use to mix and match with each other so that you can use those techniques to incorporate them within your own ideas and into your own concepts with all that said let's now move on to the outro of this video alright guys thanks for watching and being patient all the way through consider subscribing and hitting that bell button to be notified whenever a new video comes out if you're interested in following my work or want to ask me any questions personally then here are all of my social links if you have any questions or suggestions then feel free to leave a comment down below thank you once again for watching and i'll see you next time you

Channel: Broken

Views: 67,032

Rating: 4.953239 out of 5

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Id: V475WFGwJng

Length: 85min 7sec (5107 seconds)

Published: Sun Mar 21 2021